[2022.09.29] Figure Skating Team Japan Fan Book - Special Guest: Taketoshi Hara
Taketoshi Hara supports the backstage of Fantasy on Ice as a costume designer. He also has a background as a professional guitarist and a deep knowledge of music. Here, he shares a glimpse into the true face of the absolute champion behind the scenes of an ice show.
â First of all, what were your thoughts when you heard the news that Hanyu was turning professional?
Hara: When I heard there would be a press conference, I was half thinking, âMaybe he'll continue this season,â and half thinking, âMaybe he's stepping away from competitive skating.â Then, when I actually watched the press conference, I was surprised, thinking, âAh, it's happening now.â But at the same time, I also had a strong feeling of, âAh, I thought so.â I had been with him throughout this year's Fantasy on Ice tour, so it felt like some of the things I sensed there were finally making sense. It was like, âSo that's what that feeling was.â
â What was it that you felt?
Hara: I really felt that this year's Fantasy on Ice was different from usual. It wasn't just Hanyu's own presence, there was a stronger than usual sense of unity, solidarity, and at-home warmth among the entire cast. I thought the atmosphere was overflowing with a really positive vibe. But I didn't know if that was because Hanyu's vibe was different, or because of the nostalgia from it being held for the first time in three years,  or due to some other reason. Then, when I saw that press conference, I understood: âAh, that's why the atmosphere felt that way.â It's hard to put into words, but a lot of ran thoughts through my mind after watching the press conference. I felt a deep sense of gratitude for everything Hanyu has done, for what he has accomplished. At the same time, I was excited to think that turning professional would mark a new start in his skating career.
I've been accompanying the Fantasy tour as a costume designer, and from that position, I've been able to glimpse just how tough it is to live every day constantly pushing himself as a competitive athlete. Of course, that's what it means to compete on the world stage and aim for the top, that's only natural. So when I thought about how he might now be a little free from that, well, I don't know if this is the right way to say it, but I felt a sense of relief. Of course, I'm sure he'll continue to challenge himself and maintain a stoic approach, but if he can live with just a little more freedom now, I think that's wonderful. So, what I felt was a mix of excitement and relief.
â You've been designing the opening and finale costumes for Fantasy on Ice since 2017, correct?
Hara: Yes. I started costume production in 2017, but I'd actually been involved since 2015 in the role of "costume concept." I'd look at the performance and music plans and suggest ideas like, âHow about a costume like this with this kind of concept?â In 2015, I wasn't yet interacting directly with the skaters, but I was able to watch the show from the official (staff) seats. I still clearly remember that time.  Hanyu performed two programs in one show. One was a collaboration number, âBelieve,â and the other was an exhibition program from a few seasons earlier, âVertigoâ (2010â11 EX). That song is a pretty hardcore rock number by U2, and he skated to it so coolly.Â
Back then, I had just started this job, and I thought of figure skating as a sport that's mostly done to classical music, something very distant from intense rock. So seeing Hanyu skate to âVertigoâ was a real shock. I thought, âWhat, you can use rock music like this in figure skating and make it look this cool?!â Even now, if someone asks me which of his programs I'd like to see again, I'd pick that one. That program completely shattered my preconceived notions.
â That 2015 show left a strong impression on you. Then, from 2017, you began working onsite as a costume designer, which is how you got to interact with Hanyu.
Hara: Yes. When I met him for the first time, he was just as kind as he is now. We were both still much younger then, and I remember having lots of conversations with him. I originally worked as a professional guitarist, and at the time I was doing more music work than costume design. So I would talk about things like, "I've worked with these bands," and Hanyu was quite enthusiastic about it, saying things like, "I like this kind of music." What struck me was, âHe knows so much more about music than I.â And going back to the âVertigoâ program, the first thing I thought when I saw Hanyu was, "He's really a rock guy." He loves rock culture and really understands the aesthetic behind it, like what makes something cool. He even asked me about guitar techniques, and I could tell just how passionate he was about music.
â People often describe Hanyu's presence as 'like a rock star,' and it seems that kind of musical background plays a role as well.
Hara: Definitely. Hanyu was also really knowledgeable about so-called "visual-kei" bands back then. For example, he said he liked Janne Da Arc in the early 2000s, and more recently, MIYAVI. He also liked other bands like UVERworld. I was also a fan of UVERworld and listened to them a lot back then, and among fans, there's this legendary live performance that everyone says is insanely good. So I said, âWhen you talk about UVERworld, it's gotta be this one, right?â and showed him the video on YouTube. Then he was like, âI know this one! So nostalgic! It's great, isn't it?â That's how the conversation went.
What I strongly felt even back then was, âHanyu really gets it.â He understands the live performances that are called âlegendaryâ among hardcore fans. I thought that was amazing. I don't think there are many people with whom you can talk about music that seamlessly, so the memories from that time left a strong impression on me. He also said he liked game music, so I gave him a CD of my favorite game music. I think that was around 2017 or 2018.
âSo you bonded over music first. Your perspective as a musician is really interesting.
Hara: As many people have said, Hanyu's understanding of music and how he interprets it is exceptional. I felt that from the moment I first accompanied Fantasy on Ice. What I love most about being at Fantasy is watching the rehearsals. Before the audience is let in, the performers are given time to practice in blocks, including run-throughs and music checks. I often watch Hanyu's practice from the sidelines, and sometimes he'll come over to talk by the rinkside chat. During artist rehearsals, we'd often about things like, "That guitarist is really good, right? In those moments, I could really feel the sharpness of his sensitivity toward music. For example, there were times when Hanyu would tell me, "This is how I feel about music." He mentioned, "Even with the same piece, if the performer changes, the feeling while skating changes as well. So, for a piece like ââ, it's always best if it's the version played by ââ." He also said, "Even with the same piece and the same performer, it's very difficult to skate to live music." When I asked, "Why is that?" he explained, "Because through the practice process, the music becomes ingrained in my mind and body. If even the tempo or touch changes slightly in live music, it can affect how I align with the sound." He then added, "It's best when the music in my head and the music that's actually playing are exactly the same." I thought, "Ah, I see." I felt like I understood the reason his skating performance becomes one with the music.
What really shocked me was when he said, âWhen I listen to pop music, I mainly focus on the bass and drums.â He added, âI try to match everything to the bass and drum sounds.â That blew my mind because that's how think. Especially guitarists, pianists, vocalists, wind instrument players, and others who play the 'melody' or 'lead' parts. People who play music are always taught, âThe groove, the sense of tempo, and the backbone of the song are all in the bass and drums, so listen to those sounds.â And Hanyu just casually said, âWhen I skate, I usually listen to the bass and drums,â and walked away. Seeing that, I was dumbfounded (laughs). Like, âWhat?! You understand that much?â Maybe he heard it from some musician or studied music in the past, but just the fact that he skates with that kind of mindset shocked me.
â It really does feel like the music flows directly from Hanyu's body during his performances.
Hara: That's right. His physical expression feels like he's playing an instrument. The moment a note (sound) comes out, his muscles react and move. It's like the same explosive power as when playing an instrument. For example, a guitar has six strings, so when you strum it like ' jyaaaan ,' there's a slight time lag from the top 6th string to the 1st string. That's why guitarists practice techniques that let them strum through instantly, to minimize that time lag as much as possible.  I feel that Hanyu's performances are similar in that way. He probably moves his muscles just a bit earlier so that his skating and the music are in syn c. I think he's unconsciously calculating that. The way he controls his muscles really feels like he's playing an instrument.
After talking a lot about music, I've come to this conclusion: âHanyu is someone very close to being a musician.â  He is a figure skater, an Olympian, a gold medalist, but at the same time, he is also a musician. Several years have passed since, but I feel this sense was not wrong. He is very particular about earphones and I can tell he explores many things on the music side as well.
âYou've spoken from a musical perspective, but now I'd like to hear about your work as a designer. When you create costumes for an ice show, what do you keep in mind?
Hara: Basically, when I work on Fantasy projects, I always design with Hanyu at the center. I try to keep in mind the formation where Hanyu is at the center, surrounded by a stellar cast. Of course, the costumes also need to suit the other skaters, so I balance various elements, but the starting point in the early stages of design and concept is always how to fully express Hanyu's dynamics. At the same time, I also want fans to see a new side of him, something they haven't seen before compared to his competitive costumes. As someone who makes costumes, I've always thought that Hanyu's appearance and proportions are almost perfect. His waist is slender like a woman's, but his arms, chest, and overall body are made of well-trained muscles, and his body balance is simply beautiful. I put a lot of thought into how to bring out those excellent proportions in my costumes.
What's more, the aura that Hanyu exudes is truly special. What's so unique about it is that it holds both a kind of transparency and a sense of fragility, and while he embodies this incredibly pure clarity, he also possesses intense passion, bubbling emotions, and the occasional piercing gaze. It's as if several completely different people are contained within one person. I want to fully incorporate these elements into the costume. That's why I want to show contrast, to create deliberate gaps. For example, I think it's ideal if we can create distinct differences in all the group costumes, such as between the opening and finale, or between the A tour and B tour. This year's Fantasy A tour starts off like a '70s Saturday night party, and the finale is, on the contrary, pop with a girly cuteness. For the B tour, it begins with a dirty night jazz vibe inspired by Miyakawa (Taisei), and the finale has a classical European private school vibe.
âThat shows how broad his range of expression is. Does Hanyu have any particular preferences when it comes to costumes?
Hara:Â Basically, the visuals are left to me, but he places great importance on functionality. Since he always performs a quad jump in the opening, he carefully assesses how the design will work with his movements and to what extent functionality can be ensured. He is very sensitive to the weight, size, and ease of movement when wearing a costume, and his awareness of how it affects his jumps is extraordinary.
âWhat kind of requests does he make regarding functionality?
Hara: When Hanyu puts on a costume, he instantly understands what the designer is trying to convey with it. While honoring that intention, he quickly judges how he can perform his jumps and deliver his best performance over multiple shows.For example, the opening costume for Tour B's âPlunderâ was intentionally designed with front draping to create a slightly wrinkled look, which made the fit a bit looser. Because of that, there was some feedback from Hanyu's side saying, âIt might shift a little during jumps.â We immediately had a meeting, and eventually received the request: âI'd like the back to be taken in about this much.â That adjustment struck a perfect balance, ensuring that the drape design was not ruined.
Also, there was a red and black tie attached to the left chest area. During the dress rehearsal, after jumping, he said, âThe tie swings a bit, so Iâd like to adjust that.â We had already prepared an option in case he said, âItâs hard to jump if the tie swings,â so we could secure it to keep it from moving. However, I think Hanyu understood the visual interest and atmosphere created by the movement of the tie, so instead of completely fixing it, he asked, "Can you lower the position where the tie is fastened a little?" He also asked, âCan you reduce the volume of the tie fabric a bit?â So, in response, we lowered the fastening point a little and reduced the volume of fabric just enough that it wouldn't affect the visual impact when the tie fluttered. The difference was only a few tens of grams.
We made those three adjustments (tightening the back, lowering the fastening position of the tie, and reducing the amount of fabric in the tie) and brought the revised costume to the rehearsal the next day. At that rehearsal, he landed quads perfectly. He showed up quickly, jumped several times right away, and said something like, âThis feels totally fine. Thank you so much!â and then left. I really thought, âHeâs such a professional.â
âSuch incredible skills on both sides.
Hara: Also, for the opening of Tour A, Hanyu wore a jacket. But for his costume, we made it so the jacket could be secured to the inner layer with snap fasteners (raised fasteners), to keep the hem from fluttering. This allows control over how much the jacket opens, making it easier for him to jump. The jacket fabric is thin, but it still gets hot, so the inner layer is sleeveless and uses mesh fabric on the back for better breathability.
During the fitting, as everyone was trying on their outfits, people were saying things like, âThis inner layer looks cool on its own,â and Hanyu joined in, laughing, 'Would it be bad if I took off the jacket and just wore the inner layer?' At the time, we were just joking around and didnât plan anything like that. But during the Nagoya performance, there was a day when a hole appeared in the ice during the opening, and it took about 10 minutes to resurface it. While they were working on the ice, Hanyu came out in his opening costume to skate around the rink and keep the audience engaged. And then, he suddenly slid his jacket off his shoulders in a little performance, and the crowd went wild. Backstage afterward, we were joking like, âThat was great! Maybe on the final day you should just take the whole jacket off!â And sure enough, on the final performance day, he actually did it. He took off the jacket to reveal the inner layer, then swung the jacket around in circles, showing off a full-on âjacket playâ performance.
âHe actually went and did what he joked about backstage.
Hara:Â Thatâs right. And he did it so casually. When he came back, I said, âYou really took it off at the end, huh?â and he laughed, saying, âTaking it off was fine, but I hadnât practiced putting it back on, so it took a while to get it back on."Â He was like, 'Oh no, oh no, I canât put it on, what do I do? I panicked so much.â That side of him is just so playful (laughs).
âThat punchline is so funny (laughs).
Hara: Yeah. But he still made it in time for the next choreography. As expected, he didnât miss a beat. Moreover, it was the very last day of Tour A, so it was the final time heâd wear that costume. And at that moment, he revealed the hidden elements that the costume concealed. Originally, the inner layer wasn't intended to be visible, but I was worried that it might be exposed at some point, so I paid a lot of attention to the fabric. He made good use of that, and I really appreciated it. Is there anyone as wonderful as him? (laughs) Itâs not just about his looks, but I once again realized that everything about him as a whole package is truly impressive. Heâs amazing, honestly.
âFrom what youâve shared, the backstage atmosphere sounds great too.
Hara: Fantasy itself is like that, but especially in the fitting room, where there are only men, it feels like a clubroom for a sports team. Thereâs this lively, casual vibe, kind of like a group of high school boys hanging out. In Fantasy, there are active competitors and professional skaters, and the age range is wide: Kao Miura is 17 and Johnny (Weir) is 38. But it really feels like a "club". Because everyone has dedicated their lives to the same thing, thereâs mutual respect despite the age difference. Itâs playful banter among the guys, and that's what makes it so appealing. In that environment, they talk about skating quite a bit. For example, Hanyu will tell another skater, âWhen you do this jump, you should position your body like this.â Most of it is in English, but that kind of advice is really valuable. (laughs) The level of people gathered there is amazing.
On the other hand, there are also ensemble skaters in Fantasy. One year, when I was checking costumes in the waiting room, a member of the ensemble happened to be there, and Hanyu dropped by for a moment. The ensemble skater took a fitness ball out of his suitcase and was about to train on the floor, but the ball was quite worn out. Hanyu noticed it and said, "This is my ball, but I have others, so you can use it," and handed him a brand new ball. The ensemble skater was very surprised and went wide-eyed, saying, "Really!? Is it okay?" but Hanyu just casually said, "Yeah, it's fine!"
âThat's a wonderful story.
Hara: I was really moved seeing that. And thereâs more to the story. The skater carefully took the ball home and kept training with it. Then, the next year at Fantasy, he brought that same ball again, but it looked even more worn out. When Hanyu saw it, he said, âIt's worn out again this year! Here, Iâll give you this one!â and gave him another new ball. The guy was surprised and said, âReally!? You're giving it to me again?â I think it's a great story that he continued to use the ball that Hanyu gave him for a whole year, and itâs also wonderful that seeing the worn-out ball, Hanyu gave him a new one again.
The ensemble skaters have early practice times, sometimes starting as early as 6am. It can be quite physically demanding, but I think Hanyu is well aware of how difficult it is for them. He has a caring attitude toward all staff and performers. Watching that ball episode, I really felt the âloveâ he has for the team that creates the show together. At the same time, it made me realize, âI need to have that kind of attitude myself.â Since seeing Hanyu like that, Iâve made a point to proactively communicate with them too.
âI'm sure there are many such things happening when no one is watching.
Hara: I think so. That's why he is loved by the overseas skaters performing in the show. He's greatly respected. I'm also in charge of StĂ©phane (Lambiel)'s costumes, so I often talk with him. Performing in such a long show is physically tough and itâs definitely not always easy. We usually talk about how, "This year is hard, but itâs fun," but in the end, he always says, "But Yuzuâs passion gives me courage." He said, "When I feel like I'm struggling, his passion and stoicism really motivate me."
What Stéphane says is true. In the finale jump contest of the Shizuoka performance, Stéphane actually landed a quad jump. At his age, landing a quad is really tough. But I think the reason he's able to maintain his condition and performance at that level is because he thinks, "If Yuzu can do it, I have to do it too." He has that power to make people think that way. I think that has had a similar impact on us back-end staff. It makes us think, "We can't settle for good enough. We have to aim higher."
âIt's truly a gathering of the very best of the best, and yet, he has the power to make everyone feel that way.
Hara: Yes, and he shows it by example. His authenticity, depth as a person, thatâs something I've always sensed. Having spent a whole month touring together, Iâve seen many sides of him. He is truly stoic and, above all, understands better than anyone the responsibility he must fulfill. While carrying that out, he performs with all his heart and soul. He never cuts corners. At the same time, he never forgets to be kind and considerate to people like me who work behind the scenes. He's very wise, and perceptive in so many matters. Iâve been saved many times by his kindness and thoughtfulness. I think it's a blessing to be able to live on the same timeline as an athlete like Hanyu. I feel fortunate to be able to experience his journey in real time and to be involved closely in the inner circle.
âAfter the final Shizuoka performance of this year's Fantasy, everyone was crying, right?
Hara: As I mentioned earlier, I felt this yearâs show had a different atmosphere, and looking back, I think the final day of the Shizuoka performance was something truly special. Hanyu performed âNotre-Dame de Parisâ for the first time in years, and it was absolutely incredible. The atmosphere was different, and watching from the rink side, I wondered, âWhat is this feeling?â Then, after the finale ended and everyone returned backstage, almost all the skaters were crying. Johnny and StĂ©phane were especially sobbing, hugging and high-fiving everyone. I myself ended up crying uncontrollably. Hanyu was the last to return, and even then, I could see he was crying. I've been watching every finale since 2017, but it was the first time I'd seen him cry like that.
Usually, after the final show ends, everyone packs up quickly and rushes because of the bus schedule, so itâs always a bit hectic. But this year, that wasn't the case at all. StĂ©phane and Johnny were just crying nonstop, and Guillaume (Cizeron) and the other skaters were comforting them. Hanyu also sank into his chair in the dressing room and couldn't stand for a while. He was saying things like, "It was so much fun," "I don't want it to end," and "I hate that it's over now." He was muttering those words and quietly crying. Skaters came up to him one by one saying âThank you,â and seeing that made me cry again.
Then Javier (Fernandez) also spoke to Hanyu and sat down next to him, talking with him for quite a while. It was a wonderful sight. I think Hanyu said something in English like, âI don't want it to end, and I don't want to say goodbye to Javi.â What was funny about Javier was that, while comforting him, he said, âYeah, I know, itâs sad. I understand, but you still havenât signed my pamphlet yet, so please sign it for me,â holding out his pamphlet and pen (laughs). Their relationship was great and heartwarming, it left me a little teary-eyed.
Even after that, Hanyu said, "If I take this costume off, it means the show is really over, so I don't want to take it off. I want to stay like this forever," and he kept it on until the very end. That made me so happy.
âThank you for the wonderful story. Finally, please give a message to Hanyu for the future.
Hara: With his transition to professional skating, I think a new chapter will begin, so I'm looking forward to everything. It feels like someone who has been running at an incredible speed on the ground has now gained wings and is able to fly in the sky. I hope he trusts his own instincts and pushes forward on his path. What direction will Hanyu, blessed with such amazing talent, take from here on? I look forward to it and will be supporting him quietly from behind. Also, simply put, I'm one of his fans too. I will be a fan forever!
Source: Figure Skating Team Japan Fan Book 2022
